Another Post Bites The Dust

(sung to Queen's Another One Bites the Dust)

Another post bites the dust,
another post bites the dust yeah,
Another post bites the dust
another post bites the dust yeah, hey...

Crystal Stilts - Alight of Night

A new band today and one I haven't even heard yet, but based on the buzz and what I've read, I'm pretty confident I will dig them: Crystal Stilts' debut album Alight of Night.

On Crystal Stilts' first full-length album, Alight of Night, the bandmembers aren't afraid to rely heavily on their obvious influences. On display for all to hear are the reverbed darkness of the early Jesus and Mary Chain, the twee punk energy of the Shop Assistants, the classic autumnal songcraft of Black Tambourine, and the raw and ragged production values of a hundred bands from the Seeds to Green on Red to Boyracer. Throw in some Velvet Underground (you have to when you have a female drummer who plays standing, right?), some C86, and some Love, and stir vigorously. What you end up with could be tired and derivative-sounding or it could be a thrilling mess of distorted energy. Alight of Night falls squarely in the latter half of that equation, and this is how they pull it off. For starters, there are the vocals of Brad Hargett. He mumbles and croons in a deadpan voice so mopey it feels like his face would crack if he ever fully formed syllables, much less words. Hargett hovers over the songs like a disaffected ghost, never cracking a smile or betraying any hint of lightness. It may take a spin or two to get past the remote iciness of his singing, but once you do it sounds perfectly appropriate in the context of the music, and his broken soul begins to seep into your brain. Next, they never make a false move musically. There are no lame solos, no lapses in taste, no moments they will wish they had back to do over. The band (wire-tough guitars by JB Townsend, powerful and simple drums from Frankie Rose) rocks hard when the song calls for it and provides the energy and drive that Hargett's vocals lack. It's a perfect blend of psychedelic gloom and garage rock punch, of indie pop hooks and girl group drama, of noise and candy. It's obvious from the first few seconds of Alight of Night that Crystal Stilts aren't doing anything new or innovative, and that's all right. They give the old noise pop formula enough of a kick to make this a very worthwhile addition to any noise pop fan's collection. - allmusic

Click here.

No embeddable videos available but you can listen to a track here: http://www.youtube.com/watch?v=T6rKyzjd2LA

The Fashion - The Fashion

2 posts in 2 days, look at me go! Here's another album for your perusal, The Fashion's self titled album from 2007. Some history:

Danceable post-punk band The Fashion made a big splash in their native Denmark with their 2003 debut album, but the core members of the group had been playing together since 1995. All three hail from the town of Svendborg, and their joint musical ventures had ranged from industrial metal group Faceplant to the punky Joyphilter. Despite developing a strong fan base in that latter incarnation, they decided to start again from scratch after the departure of Joyphilter's drummer, drafting in Jakob Ankaer Johansen on drums and Christoffer Griebel on keyboards. A three-song 3" CD on the indie label North Post led to the newly formed group signing with BMG, who released their debut full-length as the Fashion, 2003's Rock Rock Kiss Kiss Combo. The upbeat singles "Let's Go Dancing" and "Roller Disco Inferno" blended the spiky guitar rock of the internationally burgeoning dance-punk trend with a particular sprightly sense of fun comparable to fellow Danes Junior Senior. Despite some success across Europe and attention from MTV and Rolling Stone, they took an extended break from touring and recording, during which members of the group went back to school, started families, and honed their songwriting. Now a four-piece (keyboardist Griebel had departed shortly after the release of their debut), the band returned in 2007 with a slightly harder-edged self-titled sophomore album, including the poppy singles "Like Knives," "Solo Impala," and "Letters from the Ambulance." The Fashion was slated for a 2008 release in many countries, including the U.S., and the group planned an extensive international tour to correspond.

The Fashion have brought their self-titled album all the way from Denmark to re-energize the rock scene. The Fashion is packed with catchy beats, catchy hooks and contagious energy. The vigor of the album can be attributed to the surprisingly fun pop beats that seem to defy a pop sound as The Fashion stay grounded in a blended rock/punk/pop genre. The vivacious vocals from lead singer Jakob Printzlau don’t hurt either.

The first track, ‘Dead Boys’ starts with an electric guitar, which is soon joined by the signature catchy beat of the drum that continues throughout the album to pump up listeners and prove that these boys are anything but dead. ‘Solo Impala (Take the Money and Run)’ contains another infectious beat with an equally infectious chorus that will have listeners singing along.

‘Letters from the Ambulance’ is definitely party-worthy and danceable even, with a pop feel accented by a dark bass. Though Printzlau’s vocals hint at a punk persuasion, his appeal is more universal. ‘Letters,’ as well as other tracks, is similar to something you might hear from Modest Mouse with the vocal and production styles.

‘Like Knives’ features a quick pace and Printzlau suggesting to “cut it like a DJ,” as the percussion and electric guitars continue on the same vigorous runs as other tracks. The consistent high energy is one of the highlights of the album, along with consistently good choruses on each track that are just too catchy not to join in. The Fashion tone it down and let go of the crazy percussion on ‘Apt.,’ but not without a little sadness, as Printzlau sings, “It’s much too quiet in this apartment.”

Though The Fashion hail from Denmark, their album is filled with surprisingly witty lyrical content considering English isn’t the band’s native language. The last track, ‘Vampires with Gold Teeth,’ offers echoing guitars and vocals with almost Beach Boys-esque harmonies that lead into a driving low guitar line and another solid track to end The Fashion in style. Overall, the band makes full use of its percussion with a beat-driven album that is quick paced, catchy and tirelessly energetic. -- realbuzz.com

Click here.

Here's a video for Like Knives, one of my favourite songs from the album:

THE FASHION - Like Knives

Updates to this blog have been severely lacking but it's all the fault of the following:



More updates soon!

Oh yeah!!!

LOST Season Five Official Trailer #1 - video powered by Metacafe

Kings of Leon - Only By The Night

The first few albums by these guys didn't do much for me but starting with their last album, Because of the Times, they have moved in a direction that I really dig. This new album is their best yet in my opinion and the first single, "Sex on Fire", I've no doubt will be in my top 5 singles of the year. What's funny is that most of the reviews I've read have been bashing it as their worst album, so what the fuck do I know I guess. I know I love it at the very least. Do yourself a favour and watch "Sex on Fire" at the end of this post, it's such a fucking amazing song.

America, it seems, doesn't really want the Kings of Leon. Inexplicibly, the countrified rockers are more popular overseas - something their stunning new album might still struggle to change.

On-the-button music magazine Blender could only muster three-and-a-half stars for Only By The Night, despite overwhelmingly lavish praise from British rags Q (four stars) and NME (nine out of 10).

The Brits have got it right. The Kings' fourth album is a pared-back record that replaces those ear-shredding riffs and vocal shrieks that hindered last year's Because of the Times with something more understated, anthemic and unique.

The results are spine-tinglingly thrilling, thanks to one major change: front man Caleb Followill is singing. Like, proper singing.

His indescipherable southern drawl has been replaced by a slower, more pronounced lilt that sounds like he cares - especially on summer smash Sex On Fire and hit-in-waiting Use Somebody.

They're also writing songs that are capable of rocking stadiums and the charts.

If you want anthems, Only By The Night has got them, whether it's the atmospheric opener Closer, the indie-rock of Manhattan, the power-stomp of Crawl and the piano-based sing-along Notion.

Keep saying no, America. The rest of the world will gladly have the Kings of Leon. -- from here.

Click here.

Sex On Fire

The Organ - Thieves

The Organ's debut album Grab That Gun (and only album as they unfortunately broke up) is one of my favourite albums of all time, I love it that much. They released a new 6 song EP of unreleased songs on Oct 14, 2008 called Thieves. I haven't listened to it yet but if it's anything like Grab That Gun then I will love it. I hope you'll check it out.

Attempting to separate themselves from the new millennium surge of post-punk bands, the ladies of the Organ came together in 2001 to design their own original modern sound. Katie Sketch (vocals), Deb Cohen (guitar), Jenny Smyth (organ), Shelby Stocks (drums), and Ashley Webber (bass) hail from Vancouver, and each has an appreciation for bands such as the Cure and the Smiths. In summer 2002, the Organ introduced their dark style with the release of the Sinking Hearts EP. The Canadian press and indie publications across America praised the Organ's dream pop-inflected presentation. By January, the Organ signed to Chad Kroeger's 604 imprint and Mint Records. Plans for a full-length album got on their way almost immediately, with the Organ asking producer/New Pornographers drummer Kurt Dahle to produce the CD. Unfortunately, those sessions proved difficult, forcing the Organ to scrap the material and start over. Producer Paul Forgues soon jumped on board to complete Grab That Gun, which arrived in spring 2004.

Dates for an international tour quickly took shape, but shifts in personnel once again prevented the Organ from getting Grab That Gun off the ground. Bassist Ashley Webber left in December due to creative differences, only to be asked back shortly thereafter so that the band could fulfill previously scheduled European dates. Singles such as "Brother" and "Memorize the City" seemed to get things back on track; both were well-received in the press in mid-2005, while "Brother" appeared in an episode of The L Word during its second season. Webber eventually left the band for a second and final time while performing in Europe, and was later replaced by Sketch's young sister, Shmoo. With a revived lineup and a brand new distribution deal with Too Pure, the Organ continued their trek through the U.K., performing new songs on BBC 6 Music in November 2005.

By the following summer, rumors of a split started to circulate after the Organ canceled the final dates of their U.K. tour, including appearances at the Reading and Leeds festivals, due to an illness within the band. But such rumors proved true come December 2006 when the Organ announced their breakup via their MySpace page and their official website. After the split, Sketch focused on her modeling career, appearing in the U.K. edition of Vogue, among other publications, while Cohen began work on another project, Lovers Love Haters. The Organ reunited briefly to put the finishing touches on the songs they'd written and recorded for what would have been the follow-up to Grab That Gun; the results were featured on the posthumous EP Thieves, which Mint Records released in 2008.

Click here.

"Brother" from their debut album:

What Th'!?

And now the IAMX post is gone...

Placebo - Meds

Today's album is one of my favourite albums of 2006, Meds. If you're not familiar with Placebo, they are considered: Punk Revival/Neo-Glam/Alternative Rock and the like.

With 2004's release of Placebo's singles collection, the band reaffirmed that it has never quite fit into any particular fad. Their success has been gradual in the sense that their style and sound have progressed naturally with each album. Meds builds upon that notion while also embarking on a new phase for Placebo. Meds is their second coming. Frontman Brian Molko is no longer the glam-chic, gender-bending firestarter he once was. His songs are still angry and twisted in self-reflection and social rejection. Meds doesn't contain the rush to experiment like their previous records do. It's as bare and honest as Placebo have ever been, thanks to French producer Dimitri Tikovoi's straightforward approach in getting the band to make a bona fide rock record.

There's a fresh vulnerability here and a sense of danger, too; the album's title track quickly enters this sphere. It's an obsessive moment confronting the social hypnosis and dependence of medication. The Kills' Alison Mosshart lends an anxious vocal backdrop as Placebo deliver an aggressive guitar-driven assault. Meds doesn't stop for breath until its end. Fans should be pleased with the menacing "Infra-Red" and the sexy ensnaring of "One of a Kind," two tracks that showcase Placebo's signature fiery performance style. When they're not deconstructing social expectations, Placebo's storytelling is equally powerful on the more lilting tracks. The shifty slow burn of "Space Monkey" is an epic ballad for the band. Placebo step out of their skin here. A squall of fuzzed guitars, strings, and Molko's brooding vocals strike to knock down the celebrity pedestal that creates a false human image. "Broken Promise," a duet with Michael Stipe, takes similar shape as a dramatic tale of adultery unfolds into a dark, emotional storm. Letting go of toxic relationships on "Song to Say Goodbye," a melancholic closing to Meds, brings the album full circle.

To some, Meds might come off as less interesting compared to the slickness of older tracks such as "Taste in Men" and "Every You Every Me." Some may be over Molko's constant analysis of sex, drugs, and desire. What you see is what you get with Placebo and, for the first time in a long time, that vision is clear.

Click here.

Meanwhile, this is the greatest thing ever!

See more funny videos at Funny or Die

That IAMX album I posted about is fucking awesome. I'm only on track 4 but so far it's my current favourite album. Highly recommended!!

If you are wondering where the Kaiser Chiefs post went...

...it has apparently been deleted. Even though the link was NOT hosted by me, the OFFENDING post was deleted. So I guess if you missed it, you snooze you lose. Here's the message I got:

Blogger has been notified, according to the terms of the Digital Millennium Copyright Act (DMCA), that certain content in your blog infringes upon the copyrights of others. The URL(s) of the allegedly infringing post(s) may be found at the end of this message.

The notice that we received, with any personally identifying information removed, will be posted online by a service called Chilling Effects at http://www.chillingeffects.org

. We do this in accordance with the Digital Millennium Copyright Act (DMCA). Please note that it may take Chilling Effects up to several weeks to post the notice online at the link provided.

The DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. We are in the process of removing from our servers the links that allegedly infringe upon the copyrights of others. If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. See http://www.educause.edu/Browse/645?PARENT_ID=254 for more information about the DMCA, and see http://www.google.com/dmca.html for the process that Blogger requires in order to make a DMCA complaint.

Blogger can reinstate these posts upon receipt of a counter notification pursuant to sections 512(g)(2) and 3) of the DMCA. For more information about the requirements of a counter notification and a link to a sample counter notification, see http://www.google.com/dmca.html#counter.

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Affected URLs:

http://blankboysblog.blogspot.com/2008/10/kaiser-chiefs-off-with-their-heads-2008.html

In case some of you have missed it, you may want to take a closer look at the "Click here" spots in the last few posts.

Gojira - The Way of All Flesh

Definitely a departure from the last few days: Gojira are a Death metal band from France. Their last album From Mars to Sirius is one of my favourite Metal albums of the last few years.

Gojira's sound is not easily classifiable as they blend several styles. Genres that have been associated with Gojira are death metal, thrash metal, progressive metal and groove metal. They are often compared to bands like Meshuggah, Mastodon, Sepultura, Neurosis and Morbid Angel. Gojira have been influenced by heavy metal artists such as Death, Morbid Angel, Meshuggah, Metallica, Tool, and Neurosis.

If this new album is as good as their last then it will very likely be one of my favourite albums of 2008.

When one listens to metal, they instantly try to compare and contrast it to other artists in order to come up with a likeness. However, every once and awhile, an artist peaks up from the netherworld to blow established traditions out of the water. In the last few years, our genre has been lucky enough to experience several of these, almost turning it into a trend in itself. One of these bands making waves is the French group known as Gojira, named after the Japanese version of Godzilla. Taking modern progressive death metal to new heights, Gojira is not a stereotypical death metal act, not even in the progressive tense. In fact, Gojira is sometimes so unexplainable, the best way to describe them would be avant garde. This year, the band will be releasing it’s latest foray entitled The Way of All Flesh, giving all another healthy dose of the extremes metal can go to in the name of challenging its own foundations. -- rest of review here

Go on and click here.

Lykke Li - Youth Novel

Staying in the quirky Indie Electro Pop mode, today we have Lykke Li's Youth Novel.

Swedish indie pop artist Lykke Li Zachrisson (better known as Lykke Li) grabbed the attention of bloggers the world over in the early 2000s with a handful of catchy and genuinely impressive retro-chic singles made available on her MySpace profile. Armed with sensuous, barely-there vocals and backed up by a quirky, bass-heavy, ever-so-slightly lo-fi sound (courtesy of Peter Bjorn and John's Björn Yttling, who produced her first discs), Lykke Li released her debut EP, a three-track affair entitled Little Bit, on her fledgling label, LL Recordings, in 2007. The disc's title track went on to earn a good deal of buzz among indie pop-centric bloggers and, perhaps to a greater extent, the mainstream Swedish music press soon after it was released. Lykke Li made her first appearance on Swedish MTV that year, performing an acoustic version of "Tonight" on Phaser, and the video for "Little Bit" was nominated for Best Video at that year's Swedish Grammy Awards. Her debut full-length, Youth Novels, was slated for release in 2008.

Watch this video and tell me you aren't immediately hooked!



Cool video and the song is so friggin' catchy!

Led by electro mavericks The Knife, and the emotional disco of Robyn, the Swedes now proudly present Lykke Li, 2008's girl most likely too. A Madonna obsessive and former dancer, Li joins the aforementioned by tapping into the early '80s manna of Depeche Mode, Yazoo and Japan - adding a dash of Bjorkish ambition to her imaginative homemade digitalism.

With Peter, Bjorn & John's Bjorn Yttling twiddling the production dials, there are other similarly infectious moments. And stacks of ambition too. Moving from the Concretes-like indie of opener "Tonight", the listener is rewarded with a succession of curve balls, including spoken-word ambience ("Melodies & Desires"), hip-swinging electro ("I'm Good, I'm Gone") and nursery-rhyme show-stoppers ("My"). This is a brilliant imagination running riot and "I'm Good I'm Gone", in particular, should be a monster hit. Everywhere.

More impressive, is the fact that, as an album, "Youth Novels" barely flags. A banquet of bewildering sounds is served, culminating in the insane world music mélange of "Breaking It Up" and the symphonic twirl of "Window Blues". Still only 22 (!), Lykke Li has constructed one of 2008's most ambitiously grandiose statements. Madonna can shuffle off to her Live Nation millions, a new pop saviour has been found.

by Adam Webb

Click here.

M83 - Saturdays = Youth

An album I've been digging lately is Saturdays = Youth by M83.

In 2003, Frenchmen Anthony Gonzalez and Nicolas Fromageau enjoyed international acclaim for Dead Cities, Red Seas & Lost Ghosts, a luscious blend of shoegaze aesthetics, ambient pop, and progressive textures. But M83 had been around since at least 2001, when they issued their self-titled debut through the tiny but tastemaking French label Gooom. The success of Dead Cities, Red Seas brought attention not only to M83, but Gooom, too, and suddenly glitchy, sleek, and vaguely psychedelic artists like Cyann & Ben were enjoying (deserved) exposure alongside M83. Fromageau departed the project for solo work after the second album, and Gonzalez returned to the studio for a follow-up. When Before the Dawn Heals Us appeared in January 2005, the addition of vocals and more consistent rhythms made it M83's most cohesive album yet. Gonzalez worked with producers Ewan Pearson and Ken Thomas on Saturdays = Youth, which was released in April 2008.

If you like Shoegaze, Alternative and good Pop mixed with Electronic music then give it a listen. Link below.

Old fans will note a substantial difference between the new album and the previous releases; Saturdays = Youth is more shoegaze-y in texture and more pop in construction. While the galactic, deep space vibe is still there (frontman Anthony Gonzalez loves those distorted synths!), the overall aesthetic is more Cocteau Twins a la My Bloody Valentine rather than another addition to the towering electronic post-rock tradition that Mogwai and Sigur Rós perfected.

The record specifically tackles "how it feels to be dazed, confused and 15 years old" and, says Gonzalez, draws heavily from the likes of "Tears For Fears and Cocteau Twins, as well as classic John Hughes teen movies" Recorded with Ken Thomas (Sigur Ros, Sugar Cubes, Cocteau Twins) and Ewan Pearson (The Rapture, Ladytron). - Anthem.

Click here. Oh, if you listen to it, let me know what you think.

I know what I'll do...

I think I'll start posting daily music recommendations, gotta use this space for something.

What to start with...?

How's this for freaky hair?

Spotted at Subway. I had to sneak a photo!

Boue's Big Day

Boue's Big Day
Originally uploaded by BILLBINNS

This is what Vincent does all day! Thanks to Al for sending this my way!

Hey look, an update!

Well not really, just a quick message to say that content is forthcoming, I promise! I leave you with this:



Thanks to Greg for this classic ad!

Director and Star of 'Sexykiller'

Director Nicholas Fackler of 'Lovely, Still'

Finally posting the last day of TIFF...

Saturday the 13th was the last day of TIFF, I'm only 6 days late. Better late then never.

First movie was a wonderful film called Lovely, Still. A sweet, surprising romance between senior citizens played by the amazing Martin Landau and Ellen Burstyn.

Robert Malone (Martin Landau) is a lonely old man. He lives by himself in a house that he has occupied for 48 years, a house with minimal furniture and no pictures on the walls. The only gift under his Christmas tree is one he wrapped himself, addressed to himself. Across the street, a widow named Mary (Ellen Burstyn) and her daughter Alex (Elizabeth Banks) have just moved in. Mary, seemingly smitten upon first laying eyes on the old man, invites Robert to dinner. Soon the two are dating, with Mary taking charge and Robert awestruck by her attention. He cannot believe that love has finally found him, so late in life. For the first time, he will have someone to spend Christmas with.

That alone would have been enough as the two actors are delightful to watch, but there is more to the film then that, a twist that I won't even hint at as I don't want to give anything away. Not much else to add except to say that we loved the film, it's well crafted and extremely well acted and I really hope it gets a distributor and a release as it deserves to be seen by a wide audience.

Next film was the Spanish Sexykiller and it couldn't have been more different then Lovely, Still. The movie is about, well, a sexy killer. It's a funny, action-packed, gory horror-comedy and it's a blast to watch!

Barbara is a medical student in an exclusive Spanish university. She is young, beautiful and attractive, surrounded by the best and brightest that her country has to offer. Barbara adores fashion, compulsively consumes Cosmo, and is a man-eater par excellence. She is, in essence, the culmination of the American dream: beautiful, sexy and with nowhere to go but up. But Barbara also has a dark side. When not in classes or out shopping she is a brutally violent serial killer carving her way through the university population, students and faculty alike. The police are at a loss. Assuming that the killer must be a man they have no chance of ever catching Barbara, no chance at all until a pair of students in school on research grants develop a brain wave analyzer with the ability to project the last images to be imprinted upon the brain ...

It was lots of fun and we, along with audience, greatly enjoyed ourselves. Lots of laughs, clapping and cheering. This one should do very well with the Cult film crowd.



We had a third film but we decided to pass and head home. It was an awesome week but we were glad it was over. Until next year!

A few more photos coming up and then that's it for TIFF.

Director Pascal Laugier of 'Martyrs'

Director Danny Boyle of 'Slumdog Millionaire'

As you can see, we had to sit pretty far away.

Director Alexis Alexiou of 'Tale 52'

I Still Need to Finish Blogging About TIFF...

When TIFF ended I just wanted to rest and not even think about it for a while but there's still a few movies left, so I may as well finish it off.

After the excellent Martyrs on Friday it was off to Pride and Glory, starring Colin Farrell and Edward Norton. I already posted about "the ordeal" it was getting there so I won't go over that again. The movie was better then I expected, it's very gritty and realistic. The Hollywood Reporter nailed it:

That sturdy Hollywood institution known as the corrupt cop picture has been stripped right down to the studs -- both technically and emotionally -- with "Pride and Glory," a gritty, bare-knuckled take on a clan of New York's finest who have definitely seen finer days.

Directed by Gavin O'Connor ("Miracle") from a script he co-wrote with Joe Carnahan ("Narc"), the stark drama harkens back to Sidney Lumet classics like "Serpico" and "Prince of the City"-filmmaking that went after an unadorned, jagged realism, with acting to match.

Not much to add to that really. After this movie we headed to The Victory Café for a few pints, Mel's for some yummy Smoked-Meat Poutine and finally, The Beguiling for some shopping. Then home to relax and get a decent night's sleep.

Winner!

As I called it earlier this week, Danny Boyle's 'Slumdog Millionaire' won the People's Choice award!

Director Kathryn Bigelow with the writer and lead actor from 'The Hurt Locker'.

The Ordeal

2nd movie yesterday was 'Pride and Glory' but before I get to that I need to talk about the ordeal it was getting there. After 'Martyrs' I put my ticket for the next film in my pocket and we headed to the location of the next film. 10 minutes into the walk I decide to check for my ticket and notice it's gone. I looked everywhere to no avail. So we retraced our steps, looking everywhere in the hopes it will still be on the ground. As we're walking I see up ahead a ticket on the ground! Wow, what are the odds? I pick it up, it's a TIFF ticket and...Its for a different film! WTF! What are the odds of that? Very small I would imagine. So we keep walking and looking until we reach the movie theatre we'd left. I go in and check the lost and found, no luck. I ask to be escorted to the room we were in and again, no luck. Then I go to the box office and see if there's anything they can do and there isn't. I'm ready to leave when a woman asks me if I want to buy a ticket from her as she isn't going. I don't really want to pay for a ticket so I hesitate and she says 'just 10.00'. I check my wallet and all I have is 8.00, she agres to it so I buy it. Now after all that we have very little time to get to our next film so we grab a cab and get there just as the line is entering. We manage, somehow, to get decent seats. By this point I'm exhausted and soaked and finally I can relax. Phew, the end.

Next, what I thought of the film.

Once again a day late...

Good thing this is the last day of TIFF as I can no longer keep up -- so much running around and less desire to type in line. On to yesterday's two films.

First movie was 'Martyrs', a France/Quebec co-production and it's one that's difficult to write about. It starts off as a Horror film in the 'Haute Tension' and 'Calvert' tradition, movies part of the new French Horror revolution, but along the way it becomes so much more then that. I don't want to give anything away as there are several surprises and plot twists along the way which I guarantee you won't see coming, and eventually the film becomes something else entirely, something that owes more to a film like 2001 then a Horror film. But as much as I loved it and thought it was a work of art and something that makes you feel and think and bring on many discussions about it, there aren't many people I can recommend it to. It is brutal, unflinching, hard to watch and will probably really upset you. People at both screenings threw up and one guy during the Q and A told the Director he hated it and that he was a sick fuck for making it. I personally am glad I saw it, I haven't stopped thinking about it and I'm glad I got to experience it. I will be watching with great curiousity the reviews as it's guaranteed to create controversy.

Next movie later.

Day 7

Today we got to sleep in a bit as we only have 2 films today and the first one starts at 11:45. I am thankful for that.
Where did I leave off yesterday? Right, the second film which was, fuck how do you spell it? Something like 'Synechdeche'...let me check...it's 'Synecdoche, New York', I was pretty close. Anyways, it's the new Charlie Kaufman film and it's his directorial debut. I didn't much care for it. I think directing it himself was a mistake as it was an over-indulgent mess. I liked the first hour but it lost me in the second half -- it went on way too long and it went up it's own ass. The premise is cool but it needed a Director to reign it in and make it coherent. It's too bad cause there are some funny parts and Philip Seymour Hoffman was great.

Next up was 'Gigantic' starring Paul Dano and Zooey Deschanel. A small film by a first time director that we almost loved. I say almost loved because we loved everything about the film except for one really out of place recurring thing that made no sense and was totally out place amongst the rest of the movie. It's too bad cause if you take those scenes out it's a great film. Despite that I still recommend it.

Notes on Day Three's Movies

Nick and Norah’s Infinite Playlist

Paul:
JP:

• Well, Michael Cera is on a roll: Juno, Superbad and now this, another great movie! Realistic and interesting characters, funny and witty dialogue, a great soundtrack and great performances by all.
• A funny, somewhat unique take on the ‘teenage movie’. The structure is standard but it’s the characters that make it different — they feel real and not your Hollywood cliche’ed teenager.
• Kat Dennings is great and one to look out for. Michael Cera is fantastic as usual and Ari Graynor as the drunk comic relief was just right too.
• All the locations were real and they looked it. The bands playing and the crowds in the clubs were all authentic and true to the New York night scene.
• Recommended!
  

Wendy and Lucy

Paul:
JP:

• Pretty dull, not much plot at all and very little happens that is interesting. It’s as if they made a movie for the sake of making a movie. You really should have a good story and script first.
• Michelle Williams does a good job with what she has to work with but except for a couple of scenes, she really doesn’t have much to do.
• If it wasn’t for the dog, I don’t think we would have made it through the entire film.
• We liked the character of the security guard and thought he was under-utilized.
• Many scenes looked as though they were going to move the plot forward and ultimately went nowhere.
• We also felt it wasn’t very well shot / directed.
  

Is There Anybody There?

Paul:
JP:

• Michael Caine! What more do you need?
• 3 for 3 for John Crowley (Intermission, Boy A, Is There Anybody There?). Another winner!
• A funny, interesting and moving film with an awesome performance by Caine and newcomer Bill Milner (Son of Rambow)… it’s always impressive when a child actor is really good and he was!